You get to be analytical about the process and now I can watch the movie and see all the different connection things and see all the things that are underneath the surface.

Unfortunately, every time I have somebody play an instrument, it's always like, they don't know how to do it.

The other thing is even the Jews in the course - even though metaphorically aligning themselves with Indians, and, you know, you have genocide aligning itself with another genocide.

I love thinking about things subtextually and I actually - like for instance when I write, I actually, I'm not very analytical about it. I don't ever deal with the subtext because I just know it's there so I don't have to deal with it. I just keep it about the scenario. I keep it on the surface, on my concerns. And one of the fun things is is when I'm done with everything, like now, for instance.

In real life there are no bad guys. Everybody just has their own perspective.

You're not going to have the police force representing the black and brown community, if they've spent the last 30 years busting every son and daughter and father and mother for every piddling drug offense that they've ever done, thus creating a mistrust in the community. But at the same time, you should be able to talk about abuses of power, and you should be able to talk about police brutality and what, in some cases, is as far as I'm concerned, outright murder and outright loss of justice without the police organization targeting you in the way that they have done me.

All my movies are achingly personal.